The true-life and deeply satiric odyssey of a punk-rock dropout turned porn empire overlord....

Collects Age Of X-Man: Prisoner X #1-5. The Danger Room holds the worst of the worst in the Age of X-Man! When you break the law in paradise, you aren’t sent to just any prison. You’re sent to the Danger Room — a penitentiary filled with the roughest and meanest mutants who don’t fit into X-Man’s utopia. They each have a reason for being there, and they’re all primed and ready to kill each other. But that’s about to change, because the Danger Room’s newest prisoner has just arrived: Lucas Bishop! As Bishop navigates the various mutant gangs to find the truth beyond the walls of the prison, can he trust the other inmates — including Magneto’s daughter, Polaris? Or will Bishop have to break out on his own? One way or another, these walls are coming down!

The urgent phone call comes from behind the barbed wire. 'This is Ayalon prison,' says one of the guards urgently. 'Listen, he hanged himself, we need an ambulance.' Prisoner X, just 34 years old, was slumped in a small bathroom, separated from his cell by a transparent door. Kept in one of the most technologically sophisticated solitary jail cells, at the behest of one of the world's most feared intelligence agencies, it is not easy to kill yourself. But Ben Zygier managed to do just that. Did he work for Mossad? Was he also working for ASIO? Was he involved in the supply of false passports? Was he a whistle blower or double agent, or simply a young man way out of his depth? In Prisoner X Rafael Epstein uncovers the intriguing story of a young Australian swept up in international intelligence.

The Artists' Prison looks askance at the workings of personality and privilege, sexuality, authority, and artifice in the art world. Imagined through the heavily redacted testimony of the prison's warden, written by Alexandra Grant, and powerfully allusive images by Eve Wood, the prison is a brutal, Kafkaesque landscape where creativity can be a criminal offence and sentences range from the allegorical to the downright absurd. In The Artists' Prison, the act of creating becomes a strangely erotic condemnation, as well as a means of punishment and transformation. It is in these very transformations--sometimes dubious, sometimes oddly sentimental--that the book's critical edge is sharpest. In structural terms, The Artists' Prison represents a unique visual and literary intersection, in which Wood's drawings open spaces of potential meaning in Grant's text, and the text, in turn, acts as a framework in which the images can resonate and intensify in significance.

Starting in 1970, Jean Genet—petty thief, prostitute, modernist master—spent two years in the Palestinian refugee camps in Jordan. Always an outcast himself, Genet was drawn to this displaced people, an attraction that was to prove as complicated for him as it was enduring. Prisoner of Love, written some ten years later, when many of the men Genet had known had been killed, and he himself was dying, is a beautifully observed description of that time and those men as well as a reaffirmation of the author's commitment not only to the Palestinian revolution but to rebellion itself. For Genet's most overtly political book is also his most personal—the last step in the unrepentantly sacrilegious pilgrimage first recorded in The Thief's Journal, and a searching meditation, packed with visions, ruses, and contradictions, on such life-and-death issues as the politics of the image and the seductive and treacherous character of identity. Genet's final masterpiece is a lyrical and philosophical voyage to the bloody intersection of oppression, terror, and desire at the heart of the contemporary world.

Respected congressman and human and religious rights crusader Frank Wolf shows us what one person can do to fight injustice and relieve suffering. In Prisoner of Conscience, Wolf shares intimate stories of his adventures from the halls of political power to other dangerous places around the world, what he has learned along the way, and what you can do about it now.

Connie Krauser Chaney had a troubled childhood that she hoped to escape by creating her own stable and caring family. Stability, however, was the last thing she found with her husband Wayne Chaney. Physically and sexually abusive, Wayne was an uncontrollable force in the life of Connie and their young beautiful son, Max. Acclaimed author Gera-Lind Kolarik investigates both sides of this fatally abusive relationship, which prompted one of the United States' first anti-stalking laws.